PUB: Kore Press Short Fiction Award

2011 KORE PRESS

SHORT FICTION AWARD

A prize of $1,000 plus chapbook publication by Kore Press
will be given for a short story written in English.

Antonya Nelson judge

October 31, 2010 deadline.

2010 winner selected by Leslie Marmon Silko:

Heather Brittain Bergstrom for "All Sorts of Hunger."

2009 winner selected by Tayari Jones:

Teresa Stores for "Frost Heaves "

Eligibility

This competition is open to any woman writing in English, regardless of nationality.

How to Submit

Submit your manuscript and the $15 entry fee here.

Comment box should include:

  • daytime and evening telephone numbers
  • where you heard about the contest

All entrants will be notified of results via email.

Manuscripts must be:
• NO DOCX FILES. ONLY DOC AND RTF.

a minimum of 4,000 words and a maximum of 12,000 words
• doublespaced
• paginated
• anonymous (do not include your name anywhere on the manuscript).
• original fiction written by the applicant (translations are not eligible)

• unpublished at the time of submission (if the story is accepted elsewhere during our deliberation process, please notify us immediately)

 

Ethics Statement

We endorse and agree to comply with the following statement released by the Council of Literary Magazines and Presses:

CLMP's community of independent literary publishers believes that ethical contests serve our shared goal: to connect writers and readers by publishing exceptional writing. We believe that intent to act ethically, clarity of guidelines, and transparency of process form the foundation of an ethical contest. To that end, we agree to:

1) conduct our contests as ethically as possible and to address any unethical behavior on the part of our readers, judges, or editors;

2) provide clear and specific contest guidelines -- defining conflict of interest for all parties involved; and

3) make the mechanics of our selection process available to the public.

This Code recognizes that different contest models produce different results, but that each model can be run ethically. We have adopted this Code to reinforce our integrity and dedication as a publishing community and to ensure that our contests contribute to a vibrant literary heritage.

The Process

Manuscripts are delivered to about 6 preliminary readers of diverse backgrounds and literary perspectives. Manuscripts selected by these preliminary readers are reviewed by a second reader. A group of approximately 20 semifinalists are then forwarded to our judge, who chooses 2 or 3 finalists and a winner.

 

For more information email kore@korepress.org
or call 520.882.7542

 

 

PUB: essay contest

9th Annual FundsforWriters Essay Contest

Co-sponsored by Literary Database

Toss the Writer's Market. Target and Time your submissions with LITERARY DATABASE. At a glance, you’ll know when, where and how to submit your short stories, essays, and poetry. Literary Database has hot links to each publication’s website. It’s designed by writers, for writers.

Theme for 2010: "When Writing Made a Difference"

We want to know how someone's words made a difference. You could address another author of years long past, whose writing affected you, a classroom or an entire population. You might talk about a mentor's writing. Maybe your writing impacted someone else and altered one person's life or the lives of thousands. Did your writing finally sell and pay off the wolf at the door or send you on a grand retreat or vacation? Did your writing impact a child, a senior, a lover, a friend, or a complete stranger?

Here and now or sometime in the past? You or another author? Did you read the words or write the words that made a difference? You can take this topic and spin it in all sorts of directions, but the point we want to make is that words impact people. Let's hear your take on it.

We offer the same two categories - the $5 FEE category and the NO FEE category. Many writers do not believe in paying while others have no contrary opinion about an entry fee. Here we offer both so everyone has a choice. This way no one has an excuse not to submit.

Remember...this is an essay, a nonfiction entry. No fiction, no poetry. Entries are welcome from any race, religion, gender, nationality or other diverse group. Prize money will be forwarded via PayPal or check. (NOTE: If outside the US, we refuse to spend more than reasonable postage to send it to you. No wires.)

Prizes:

$5 ENTRY FEE Category

  • First Place - $300

  • Second Place - $100

  • Third Place - $50

NO ENTRY FEE Category

  • First Place - $50

  • Second Place - $30

  • Third Place - $20


Our Gold Sponsors:

Are you one of those people who never submits your writing for publication because you think it isn't good enough? What if there were someone you could show it to — someone who would be both objective judge and supporter? I'm Nancy Wick, a Seattle-based writer, editor and writing coach. Send me your manuscript for a developmental edit that will help you make the next draft better or a copyedit that will polish a finished piece for submission. Let me be your partner in prose.   E-mail: wicknb@juno.com" target="_blank"> wicknb@juno.com / Website: www.enlightenededits.com


Contest Guidelines:

What to Put In/On your Email Submission:

  1. The title of the essay (do NOT use the theme, "When Writing Made a Difference" as your title)
  2. Your name.
  3. Your email address.
  4. Note Entry Fee or No Entry Fee category.
  5. The word count.
  6. The essay itself in the body.

Guidelines:

  • Not to exceed 750 words.
  • Essay/nonfiction only. NO fiction, poetry or children's writing.
  • Receipt deadline Midnight (Eastern Time), October 31, 2010.
  • Email entry to hope@fundsforwriters.com. (No more fax and snail mail submissions.)
  • No attachments to emails. Embed in the email itself. (Viruses are nasty creatures.)
  • Entry fee $5 or ZERO dollars. Payable via PayPal or check. Put name, email address and essay title with check if you send via mail.
  • Note ENTRY FEE or NO ENTRY FEE on your submission. 
  • Same piece cannot be submitted in both ENTRY FEE and NO ENTRY FEE categories.
  • Must be original and unpublished.
  • Must be in English but entries accepted internationally. Entry fees must be in US dollars.
  • No limit to the number of submissions.
  • All writers must be 18 or older.
  • Do not bother with SASE for winners lists. Winners posted on website and in newsletters.
  • Single or double-spaced accepted.
  • Winners and public notified by December 1, 2010.
  • Winners published in December 5, 2010 FundsforWriters newsletters.
  • Other submissions will be considered for publication, but will be paid the standard rate of $45 if selected.
  • Final determination of winners is not negotiable.
  • You do NOT have to be a FundsforWriters reader to enter the contest.
  • You will not be added to any sort of mailing list.

 

I am paying $5 for the ENTRY FEE category and will include my PayPal email address on my entry to aid identification or entry with entry fee.

 

Direct any additional questions to Hope Clark at hope@fundsforwriters.com . Checks can be mailed to: C. Hope Clark, c/o FundsforWriters.com, 140A Amicks Ferry Road, Box 4, Chapin, SC 29036

 

FEEL FREE TO USE THE FOLLOWING ON YOUR WEBSITE, BLOG OR NEWSLETTER.

9TH ANNUAL FUNDSFORWRITERS ESSAY CONTEST

FundsforWriters.com and Literary Database team up to co-sponsor the 9th Annual FundsforWriters Essay Contest. Theme: Writing that made a difference. Both entry fee and no entry fee categories. First place winner receives $300. Six awards given. Limit 750 words. Deadline October 31, 2010. Winners announced December 1, 2010.  www.fundsforwriters.com/annualcontest.htm / www.literarydatabase.com

 


Read our past winners . . .

2009 WINNERS - Theme: Invisible Writing

2008 WINNERS - Choice of two topics. Theme: The Best Advice I Ever Had

2007 WINNERS - Choice of two topics. Theme: Make Us Want to Be You

2006 WINNERS - Choice of four themes on mentoring and grants

2005 WINNERS - Theme: They Actually Paid Me To Write

 

PUB: NCBS Online - Conference Call for Papers


   Call for Papers

NCBS is accepting abstracts for individual paper, poster, panel, session, roundtable discussion, workshop, town hall meeting that explore the Black experience locally, nationally, and/or globally from a variety perspective. Of particular interest are presentations that comparatively explore these experiences, as well as those that examine the discipline of Africana/Black Studies using multi-layered frameworks and methodologies. Papers that incorporate various combinations of race/nationality, class, gender, and sexuality, through the lens of but not limited to Afrocentric, cross and multicultural, diasporic, feminist, postcolonial, postmodernist or transnational interpretative schemes are welcomed. Send a 150-400 word abstract for a panel (one for the panel subject and one for each panelist), and/or individual paper and poster presentations. For roundtable discussions submit a 500 word abstract that explores the discussion topic. For town hall meetings submit a 500 word abstract specifying the roles of the facilitator(s) and recorder(s).

Audio-visual needs (e.g. power,point, monitors, tv etc.)--presenters have to contract equipment from the hotel--NCBS "will not" be responsible for supplying presenters with equipment.

*All conference presenters must pre-register for the conference.

SUBMISSION DEADLINE October 15, 2010

 Abstract Submission Guidelines

 

The following information is required for presentation consideration for the NCBS annual conference. 

 

Individual Abstracts   Panel Proposals  Roundtable Proposals
  • Abstract (1-2 pages)
  • Presentation Title
  • Name, Address, Phone, Email
  • Institution/Affiliation
  • Panel Abstract (1-2 pages)
  • Abstract & Presentation Title (each panelist)
  • Name, Address, Phone, Email (each panelist)
  • Institution/Affiliation (each panelist)
  • Name of Primary Contact
  • Roundtable Abstract (1-2 pages)
  • Roundtable Title
  • Name, Address, Phone, Email
  • Institution/Affiliation (each panelist)
  • Name of Primary Contact

Submit Abstracts Here

For questions and support on abstract submission please email info@ncbsonline.org.

 

 

INFO: António Tomás - Deconstructing utopias | BUALA - african contemporary culture

BUALA

Deconstructing utopias

photos by Marta Lança

 

A new writer and a new book have been presented by Agualusa to a pan-African gathering. The book has received critical acclaim as a work by an African writing soberly on “such things”, in “journalistic language, backed by rigorous research.” It is a first in terms of its internal discourse, since it provides us “with a view of an African thinker and fighter from an African perspective.” António Tomás accepted the praises with a typically calm and thoughtful attitude, at this moment of great personal satisfaction after all the struggle and sacrifice needed for a book like this to be published. 

He was born in Luanda in 1973, Portuguese by nationality. This was the year of war in Israel, of Allende, of oil price hikes, of maximum production levels in coffee and cotton in Angola, of the assassination of Amílcar Cabral and eight months before the Guiné-Bissau unilateral declaration of independence. António was the oldest of the boys among five children. His father was from Malange, though he had a S. Tomé e Príncipe background, and his mother was from Luanda. His childhood was spent in a socialist Angola, a land of bread queues and food coupons but no great social discrepancies.

“My mother was a devout Catholic and didn’t want us to get involved in politics. When other children of my age were going to the 1st of May parades to listen to the president’s speeches, we were on our way to church. Democracy was practised in the church in Angola.” It was here that he had his fist experience as a journalist – with a bulletin put up on a notice board, and he also set up a library.

His love of reading starts with the spoils of colonialism, and he devoured the books left behind by the Portuguese. In the library of the Luanda commissariat he discovered the Americans Hemingway and Faulkner; in the house of a neighbour, abandoned by those who left, he discovered thrillers. But his first serious literary influences were Sartre and existentialism. At 16 he was writing poetry and working on comic strips. He joined the Alliance Française to learn more and go to film cycles. He started on a novel in French, because it was the language where the quality of teaching was the highest. “I realised that I wanted to write and journalism was the closest thing to being an author”. He did the secondary course on journalism while he was working at ANGOP and on Rádio Nacional. He wrote pieces of great passion, but he was also responsible for the script of the legendary programme fronted by the voice of Edite Vasconcelos, “Boa noite Angola!”

He also studied in Portugal. He won a Gulbenkian scholarship and studied social communication in the Universidade Católica. He got to know José Eduardo Agualusa, who invited him to write for the daily paper “O Público”. Here he worked in the cultural section, above all on subjects to do with Africa. 

He had never felt really at home in Angola because he never had anyone to share the things he liked, but he found this sense of identity in Portugal. What he found racist and conservative in Portuguese society was “when I left the intellectual milieu to get a taxi or rent a house.” It was a long time before he went back to Angola. During the 90s he watched a country at war from afar and he didn’t even move in Angolan circles because it was “very painful”. This was when the theatre came on the scene. He had already read Ionesco, but it was at a dinner at the home of Ariel de Bigault that he decided to write for this medium with Miguel and Zézé Hurst, because the available roles for black actors were scarce and of limited range.  A theatre group with African roots was a pioneering event in Lisbon.
This was when he wrote “Museu do Pau Preto” (The Museum of the Black Stick), a play that took him to Cape Verde. “I enjoyed working as a group, us and the actors, in the first play written, produced, put on and acted solely by black people.” He also wrote a show for “Uma mesa e uma cadeira” (A table and a chair), put on at the Culturgest in Lisbon and a play about Amílcar Cabral in collaboration with the Hursts.

He did a master’s at the Instituto Superior de Ciências do Trabalho e da Empresa (The Higher Institute for the Study of Labour and Enterprises), and he went to the United States to do a doctorate in Anthropology at the University of Columbia, where he spent three years. Before this, however, he won a scholarship through “Criar Lusofonia” (Creating a Culture of the Portuguese Language) and this allowed him to start his research on Amílcar Cabral, a figure that had always attracted him. This brought journeys to Cape Verde, Guiné-Bissau and Paris; there were interviews, letters and more letters and so much documentation in the repository of the Mário Soares Foundation; cross-checking information; building up a profile of this key figure for an understanding of the independence movements in the former Portuguese colonies in Africa; and there were the many sofas kindly made available by friends for him to rest after feverish writing on the extremely full life and the times of this man.

a transformar neste livro.

In 2007 the publisher Tinta-da-China gets hold of this fabulous biography, given in by António Tomás – a “stroke of luck” in their words –  to turn into the work we have. And so it is here, “O Fazedor de Utopias - Uma Biografia de Amílcar Cabral” (The Maker of Utopias – A Biography of Amílcar Cabral) a work that gives us so much on one of the most important idealists in recent African history. At the end, Tomás says that the most important thing that remains of Cabral is “the humanity, depth of feeling and belief in a better future” of a nationalist figure who, like so many others, had to solve the deep-seated crisis of an identity that was Portuguese and African at the same time. The solution came through the far-reaching self-determination of his people.

 

 BUALA / AUSTRAL nº 65 - TAAG

 

----------------------------------------------------------

by MARTA LANÇA

Postgraduate in Literature at FCSH - University Nova de Lisboa. Free-lancer: journalist, translator, editor and producer. Created the V-Ludo magazine (2000-01), wrote articles for portuguese publications (Público, DN, Le Monde Diplomatique and magazine LER). Since 2004 dedicated to culture in Africa: she lived in Cape Verde (cultural magazine Dá Fala, support by Gulbenkian IPAD-2004/5), in Angola where she taught at the Agostinho Neto University, collaborated with the Triennial of Luanda, the Luanda Film Festival, journalism and research, in Mozambique (Dockanema 2009, Inov-art program). Nowadays she's living in Rio de Janeiro, as editor of BUALA.

 

EVENT: Johannesburg, South Africa—Ernest Cole Exhibition, A right handful - Times LIVE

A right handful

Sep 16, 2010 11:38 PM | By Mandla Langa

RACEY DAYS: This picture is almost certainly from a shebeen in Pretoria's Riverside, and shows why Cole's pictures got under the skin of the apartheid government Pictures: THE ERNEST COLE FAMILY TRUST

Ernest Cole's photo of a sweating black boy crouched over a blackboard is not a prize-winning war photo in the usual sense.

It is a telling symbol of the long struggle of black South Africans against an oppressive regime, and is one of the more memorable images in Cole's book House of Bondage.

Possibly one of the first black social realist photographers, Cole criticised apartheid by juxtaposing, through his penetrating lens, horror and beauty.

The exhibition, Ernest Cole the Photographer, will feature many photographs never previously seen. Taken from a collection owned by the Hasselblad Foundation, it will be the largest ever showing of his work.

Taken under the most trying circumstances, the pictures reveal the strength, subtlety and elegance of Cole's photographic vision.

The works are a tribute to Cole's courage and tenacity on the arduous journey towards democracy.

 

Cole courted arrest many times because of his insistence on photographing police in action, especially during the infamous pass raids.

 

He preferred the un-cropped image, where the frame was part of the picture. To achieve this, he had to shoot fast while maintaining an unobtrusive watchfulness.

_________________________________________________________


RACEY DAYS: This picture is almost certainly from a shebeen in Pretoria's Riverside, and shows why Cole's pictures got under the skin of the apartheid government Pictures: THE ERNEST COLE FAMILY TRUST
RACEY DAYS: This picture is almost certainly from a shebeen in Pretoria's Riverside, and shows why Cole's pictures got under the skin of the apartheid government Pictures: THE ERNEST COLE FAMILY TRUST

 

_________________________________________________________

 

Cole left South Africa in 1966, heading to France, England and ultimately New York, where he passed away in 1990 from cancer. Nelson Mandela had been released the previous week.

 

Cole's book House of Bondage was published in 1967, and was immediately banned. Commenting in the late 1980s, photographer Paul Weinberg said: "If I were [the Nationalist government], I would distribute thousands of copies for whites to show their children if they were concerned with survival."

 

  • Visit the exhibition at the Johannesburg Art Gallery from Sunday to November 21.

 

INFO: How do you get your wisdom? | Lifelines: The Black Book of Proverbs

How do you get your wisdom?

Words of wisdom from Africa can encourage us, inspire us and remind us of truths we have overlooked or forgotten.  For example,

  • “When your sister does your hair, you do not need a mirror.” (Africa)
  • “Even a poor rat has at least one hole.” (U.S. Black Belt South)
  • “It is better to walk than to grow angry with the road.” (Senegal, Gambia)
  • “If you think you are too small to make a difference, try sleeping in a closed room with a mosquito.” (Africa)

Now you can have an African proverb delivered to your e-mail box each day absolutely free! Some of these proverbs are taken from Lifelines: The Black Book of Proverbs, and many come from our collective data base of over 7,000 proverbs.

To receive an African proverb-a-day directly in your in-box, please sign-up on our website: www.LifelinesProverbs.com (subscribe on the right hand side of the site- “Proverb-A-Day”).

Folks from all over the world are starting their day with an African proverb/Daily Lifeline.  We look forward to you joining them and us in our daily discovery as “when the truth is missing, proverbs are used to discover it.” (Yoruba proverb)

Authors | Lifelines: The Black Book of Proverbs
URL: www.lifelinesproverbs.com
Facebook: www.facebook.com/LifelinesTheBlackBookOfProverbs
Twitter: @DailyLifelines

*’….’*:-.,_,.-:*’….”A proverb is to speech what salt is to food.” (Ethiopia)



 

GULF OIL DISASTER: Evidence Mounts of BP Spraying Toxic Dispersants > t r u t h o u t |

Evidence Mounts of BP Spraying Toxic Dispersants

by: Dahr Jamail, t r u t h o u t | Report

photo
Private contractor in Carolina Skiff with tank of Corexit dispersant, August 10, south of Pass Christian Harbor, 9:30 AM. (Photo: Don Tillman)

Shirley and Don Tillman, residents of Pass Christian, Mississippi, have owned shrimp boats, an oyster boat and many pleasure boats. They spent much time on the Gulf of Mexico before working in BP's Vessels Of Opportunity (VOO) program looking for and trying to clean up oil.

Don decided to work in the VOO program in order to assist his brother, who was unable to do so due to health problems. Thus, Don worked on the boat and Shirley decided to join him as a deckhand most of the days.

"We love the Gulf, our life is here and so when this oil disaster happened, we wanted to do what we could to help clean it up," Shirley explained to Truthout.

However, not long after they began working in BP's response effort in June, what they saw disturbed them. "It didn't take long for us to understand that something was very, very wrong about this whole thing," Shirley told Truthout. "So that's when I started keeping a diary of what we experienced and began taking a lot of pictures. We had to speak up about what we know is being done to our Gulf."

Shirley logged what they saw and took hundreds of photos. The Tillmans confirm, both with what they logged in writing as well as in photos, what Truthout has reported before: BP has hired out-of-state contractors to use unregistered boats, usually of the Carolina Skiff variety, to spray toxic Corexit dispersants on oil located by VOO workers.

Shirley provided Truthout with key excerpts from the diary she kept of her experiences out on the water with her husband while they worked in the VOO program before they, like most of the other VOO workers in Mississippi, were laid off because the state of Mississippi, along with the US Coast Guard, has declared there is no more "recoverable oil" in their area.

"The first day I went, I noticed a lot of foam on the water," reads her entry from June 26. "My husband said he had been seeing a lot of it. At that time, we were just looking for 'Oil.' We would go out in groups of normally, five boats. The Coast Guard was over the VOO operation. There was always a Coast Guard on at least one of the boats. They would tell us when to leave the harbor, where to go and how fast to go. They had flags on each of the VOO boats and also a transponder. Sometimes we would have one or more National Guardsmen in our group too, as well as an occasional safety man to monitor the air quality and procedures on the boat. If we found anything, the Coast Guard in our group would call it in to 'Seahorse' and they would determine what action would be taken."

Along with giving a clear description of how the Coast Guard was thus always aware of the findings of the VOO workers, her diary provides, at times, heart-wrenching descriptions of what is happening to the marine life and wildlife of the Gulf of Mexico.

"Before we went to work, I went down by the beach," reads her entry from July 4. "There were dead jellyfish everywhere. Some of them were surrounded by foam. A seagull was by the waters edge, as the foamy stuff continued to wash up. There was also a crane that appeared to be sick. It didn't look like it had any oil on it, but it just stood there, no matter how close I got."

On the morning of August 5, Shirley describes spotting a dead young dolphin floating in the water. "As we waited for the VOO Wildlife boat to come pick it up, we noticed a pod of dolphins close by," she writes. "Even with all the boats around, they did not leave until the dead one was removed from the water. It was very emotional, for all of us."

It’s a crucial time to fight ignorance - help Truthout get the word out by donating here.

The next day, August 6, found her logging more death. "Last night on the news, they reported a fish kill. Before we went to work, I went to the beach by the harbor. The seagulls were everywhere. As for the dead fish, the only ones on the beach, were ones that the tide had left when it went back out. The rest of the 'Fish Kill,' was laying underwater, on the bottom. It was mainly flounder and crab. We only spotted two dead flounder floating that day. I can only imagine how many were on the bottom ... I went back to the beach after work. The tide had gone out and the seagulls were eating all the dead fish that had been exposed. You could still see dead fish underwater, still on the bottom. Dead fish don't float anymore?"

The Tillman's primary concern is the rampant use of toxic dispersants by what they described as private contractors working in unregistered boats, that regularly were going out into the Gulf as they and other VOO teams were coming in from their days' work. There was, oftentimes, so much dispersant on top of the water, their boat left a trail.

"The first thing I noticed, was the 'trail' the boat was leaving in the water," her log from July 10 reads. "You could see exactly where we had been, as far back as you could see. Around 11:00, we were in oil sheen and brownish clumps. We were North of Cat and Ship Island when the Coast Guard told us to drop the boom over. When you pick the boom up, you have to wear 'protective gear.'"

Her log from August 1 describes, in detail, an incident of the Coast Guard not allowing them to collect oil and his proceeding to deny what they found was even oil:

"Around 2:00 p.m., we started noticing a lot of oil sheen. We were North of the East end of Cat Island, but South of the Inter Coastal channel. There was, as usual, a Coast Guard on one of the boats in our team. He called in to report it, but we were told not to drop the boom, it was just 'Fish Oil.' In the beginning of the clean-up operation, if something was floating on the water and it looked like oil, it was oil or oil sheen. Later they would sometimes say it was just 'Fish Oil.' Also, if it was heavy foam with a brown or rust color, originally it was 'Oil Mousse.' Later it was called 'Algae.' We were then told to head Northwest. The further we went, the worse the 'Fish Oil' got. Then, the foam was mixed in with the oil. It was at least the size of a football field, around our boat alone. My husband got on the radio and asked if they could put the boom over." The Coast Guard, again, told them no. "We were then headed West, back towards Pass Christian. A pleasure boat flagged one of the boats in our group down and told him that there was oil all over. The Coast Guard said to tell him that they were aware of the situation ... On the way back to the Pass Harbor, I asked my husband, 'Just exactly what are we even doing out here?' He told me that he was beginning to think that it was all just for show. I can only imagine what the people on the pleasure boat had to say when they got back home that day. Probably, that they had seen a lot of oil on the water and the VOO boats were out there just riding around in it and not doing anything to clean it up. That is exactly what happened. We decided then to start documenting as much as we could. I believe it was the very next day, Thad Allen was on TV saying that they were scaling operations back due to the fact that, 'No oil has been seen in the Gulf in almost two weeks.' Now, if we had pulled boom on Sunday and unloaded a bunch of dirty boom in the Pass harbor, it might have been a problem for him later."

Dispersant remnant. June 26, 2010.

Dispersant remnant, June 26, 2010. (Photo: Shirley Tillman)

On August 5, she describes a rare instance of their being allowed to drop boom in order to collect oil. "We had a Coast Guard and two Safety Men on our boat. We went to the West of the Pass Harbor. The water looked black in places. Lots of bubbles, not foam, just bubbles. Around 8:30, we were in oil sheen and mousse and were told to drop the boom. The more we pulled the boom, it appeared the more was coming up. The Pass [Christian] Harbor was closed because the oil was coming in so bad. We pulled boom back and forth the rest of the afternoon."

Oiled Boom. August 5, 2010.

Oiled boom, August 5, 2010. (Photo: Shirley Tillman)

Oil sheen and dispersant remnant. August 1, 2010.

Oil sheen and dispersant remnant, August 1, 2010. (Photo: Shirley Tillman)

By early August, the total number of VOO boats operating out of Pass Christian Harbor, where Shirley and Don worked, was down to 26.

On August 8, Shirley wrote, "talk at the harbor was that airplanes were spraying dispersants on the water at night, out by the islands. There was also talk of skiffs, from Louisiana, with white tanks on them, that were spraying [dispersants] too. We had seen the skiffs before. They would pass us up in the mornings and head towards the Bay St. Louis Bridge. We were told that they were working out of an area at Henderson Point. Henderson Point has a county-owned area with a boat launch & piers. It was closed to the public after the oil spill and a BP sub-contractor staging area was set up. It always appeared that these boats were finishing up their work day, just as we were going to start ours. Most of these skiffs were Carolina Skiffs."

Later that same morning, Shirley and her husband headed out of the harbor with a member of the National Guard on their boat, heading west, while a member of the Coast Guard and another member of the National Guard were on another boat in their VOO team. After boating for an hour, they turned back to the east, at which point Don spotted five of the Carolina Skiffs.

"I got my camera and started taking pictures of them," Shirley writes. "As I was zooming in as close as I could, I saw one of them spraying something onto the water. I did not get a picture of it, I was too busy telling my husband to tell the Coast Guard on the other boat. The skiffs had turned North and were scattered out, zigzagging South of the train bridge. The Coast Guard called the incident in and sent one of our boats to follow the skiffs. The skiffs immediately left. When I saw the boat spraying, it was upwind from our boat. Within a few minutes, my nose started drying out. Later my throat and eyes did the same thing. A Coast Guard helicopter was dispatched along with a Coast Guard boat. We saw the helicopter about twenty minutes later, but I never saw the Coast Guard boat."

Back at Pass Christian Harbor, her team reported the Carolina Skiffs actively spraying dispersants. She was told by the contracting company, Parson's, that managed their VOO team, to bring in her photographs.

Her entry from the next day, August 9, reads:

"I took the pictures, 8x10's to Parson's. A short time later, my husband called and said the Coast Guard wanted me to make a disc of the pictures. I took the disc and turned it over to the Coast Guard. I was told, in the presence of others, that the incident had been investigated and the boats in question had been located at the Henderson Point site. He said that these boats were in the VOO program as skimmer boats, but it had not yet been verified. He said that he had questioned them about spraying something on the water. They told him that if I had seen them spraying anything, they were probably just rinsing out their tanks. He also asked me, 'Don't you think if they were spraying dispersants, they would be wearing respirators?' I told him, 'You would think so, but nothing surprises me around here anymore.' We basically left after that. I knew all they had really wanted was to see exactly what I had gotten pictures of. There is of course the question, 'Why would a skimmer boat need to rinse out his tanks?' If he had been skimming oil, why dump it back over? If he hadn't been skimming oil, what was he rinsing out? I know what I saw and I know how I felt afterwards. I also know that in one of the pictures I took, you can see a helicopter over those boats. BP has spotters looking for oil. Could it be he was telling them where to 'Touch Up' before they called it a day? One thing I did learn from Coast Guard guy that day, evidently these so-called skimmer boats, also have the ability to spray!"

The Tillman's curiosity drove them to investigate further, given the inconsistencies they were seeing in the Coast Guard's actions regarding the dispersant being sprayed from contractors in the Carolina Skiffs.

"My husband came home and said that they had seen the 'Skiffs' again today," reads Shirley's entry from August 10. "He took pictures of them and a jack-up-rig. The rig moves around in the sound and is suppose to be a de-contamination station. However, some Captains have said when they went there, they were told it wasn't in operation at the time. After thinking about the tank skiffs and the Coast Guard for two days, I could not make any sense of this whole situation. The Coast Guard is supposedly over the VOO Program, but it knows nothing about the skiffs at the site, so close to the Pass Harbor. They not only tell us every move to make, but they are always with us when we make the moves. Our boats are flagged and have transponders on them. Those boats have no flags, we have not seen a transponder, nor a Coast Guard member on one of them telling them what to do."

That afternoon, the Tillmans visited the Henderson Point staging area. Though it was guarded, what they found shocked them:

"There were probably more boats there than in the entire Pass [Christian] VOO program at the time," reads her entry. "There were only a couple of regular skimmer boats. All appeared to have Louisiana registrations. Almost all of the skiffs had the white tanks on them. A few of the tanks looked like they could have had something in them at one time, but nothing like the oily, sticky mess we had been dealing with. If we got something on our boat, it was almost impossible to get it off. I don't see how they could have gotten it out of the tanks and still looked like they did. Also, there was a Harrison County Sheriffs Department car, right by the boats and some large, plastic, white containers with yellow bases."

Corner of Canal Road and I-10, in Gulfport, Mississippi, at the Gulfport site used as a BP staging area. August 14, 2010.

Corner of Canal Road and I-10, in Gulfport, Mississippi, at the Gulfport site used as a BP staging area, August 14, 2010. (Photo: Shirley Tillman)

On August 13, the VOO boat that Shirley and Don were running was deactivated. Still very concerned, the next day they visited the BP staging area in Hancock County.

"They had evacuated this site," she writes. "Same setup though, a guard and a Sheriff's car. We then went to a site in Gulfport. Evidently, this is a main BP storage site. There were all kinds of boats, including the tank skiffs. The Sheriffs Department was there also and so was those large, plastic tanks with the yellow bases."

Other reports, of a very similar nature, have been reported about other BP staging areas along the Gulf of Mexico. The tanks are clearly used to store and transport Corexit dispersant. The Carolina Skiffs are clearly used to spray it atop oil.

Corner of Canal Road and I-10, in Gulfport, at the Gulfport site used as a BP staging area. Corexit Tanks. (Photo: Shirley Tillman)

Corner of Canal Road and I-10, in Gulfport, at the Gulfport site used as a BP staging area. (Photo: Shirley Tillman)

Corner of Canal Road and I-10, in Gulfport, at the Gulfport site used as a BP staging area. Corexit Tanks. September 1, 2010. (Photo: Shirley Tillman)

Corexit tanks, September 1, 2010. (Photo: Shirley Tillman)

Her August 16 entry details her discovery:

"Over the next few days, I continued to go by the Henderson Point site and the Gulfport site. The Henderson Point site brought back a few boats, but none of the tank skiffs or the large plastic tanks. The Gulfport site stayed the same, full of everything. On August 25, I received an email with a link to an article about dispersants. It had a picture of the tanks that dispersants come in, with the label 'Nalco Corexit EC9005A.' They were 330 gallon, large, plastic, white tanks with a yellow base. These were the same tanks that I had been seeing at the Henderson Point site and the Gulfport site. I was able to get the name of the manufacturer of the tanks, off a picture I took and compared it to the picture in the article. It was the same manufacturer. I researched this company on the internet and found the 330 gal tanks. They are marketed as: 'The only manufacturer in the industry to offer portable tanks certified for hazardous goods transport by the United Nations and the U.S. Department of Transportation.'"

Dead founder amongst fish kill. August 6, 2010. (Photo: Shirley Tillman)

Dead flounder among fish kill, August 6, 2010. (Photo: Shirley Tillman)

Shirley and Don are, like tens of thousands of other VOO workers and Gulf residents, left with more questions than answers.

"While working on the boats, if you pull boom back onto the boat, you not only had to wear Tyvek suits, protective glasses and gloves, you also had to put tape around the gloves and suit sleeves, as well as around your boots and the suit." Shirley asks, "Why would it be safe for people to get into the same water that all of this hazardous stuff was coming out of?"

For the Coast Guard, she aks:

"How can you not know there are boats in the VOO program if you are in charge of the VOO program? The Coast Guard was supposedly over the VOO program, but they acted like they don't know anything about the Carolina Skiffs. The boats were in either a task force or strike force. Every VOO boat has a flag. We all had transponders. This was VOO and Coast Guard regulations. But these skiffs didn't have flags and we never saw transponders on them, nor did they have Coast Guard with them and supposedly every group had at least one Coast Guard in each group. Sometimes we would have two. But the Skiffs didn't have any."

Local media in Pass Christian and Gulfport, Mississippi, are now reporting that BP hopes to have the VOO program in that area completed by September 19.

Shirley is incredulous. "Why would anyone bring their children here and put them in water that has had millions of gallons of toxic chemicals dumped into it, not counting the oil itself?" she asks. "Why would you want to eat seafood that has been living and dying in the water, with all those contaminates?"

Truthout has earlier reported on other fisherman in the area, James "Catfish" Miller and Mark Stewart, who have reported being eyewitnesses to the contractors in the Carolina Skiffs spraying dispersant as well.

Meanwhile, local, state and federal authorities continue to claim that dispersant was only used south of Mississippi's barrier islands and that the Carolina Skiffs and the large tanks they carry are only used to "skim" oil.

"If dispersants were only being sprayed South of the islands, why would these 330 gallon hazardous goods tanks be located at two different work sites, right by the tank skiffs?" Shirley asks. "Why would the skiffs tanks be so clean if they were really skimming oil?"

The Tillmans and thousands of other fishermen and residents along the Gulf of Mexico are deeply concerned about local, state and federal government complicity in what they see as a massive cover-up of the oil disaster by using toxic dispersants to sink any and all oil that is located.

Dr. Riki Ott, a toxicologist and marine biologist, is a survivor of the 1989 Exxon Valdez oil disaster in Alaska. She recently submitted an open letter
to the US Environmental Protection Agency expressing many of these same concerns.

Ongoing government denials of this problem neither fool nor dissuade Shirley. "I know what I have seen," she told Truthout. "I know what I have been told. I know what I have experienced. I know what I have documented. I also know that I have taken hundreds of pictures to verify what I am saying."

 

INFO: Write a novel in a month > Novel Spaces

Sunday, September 19, 2010

Novel Spaces

Write a novel in a month

 

National Novel Writing Month (aka NaNoWriMo) is rapidly approaching. Literally at the speed of time. Every November tens of thousands of writers strive to produce a 40,000-word manuscript in thirty days. Why 40k? Because in publishing, that's the official definition of a novel. Today 90,000-word novels are common, but they are a recent development. (Or at least younger than I am.) Take a look at your copies of The Old Man and the Sea and Brave New World. Time was most novels were that slender. Though most were not that good.

More than a month devoted to writing, NaNoWriMo is an active internet community – something of a global glee club – with daily encouragements, prods, and reminders to keep you going. In many cities NaNoWriMo writers get together one or two nights a week for group writing sessions that take the loneliness out of what is usually a solitary pursuit.

The purpose of NaNoWriMo is not to produce great literature, though creating great literature is not discouraged. The purpose is to get writers – especially writers who do not think they have enough time for writing – to sit down at the keyboard and write. And in that respect it has been a great help to me over the years.

I have NaNoWriMo-ed five times – the last in 2006 – and twice finished the month with a manuscript of more than 40k words that told a story with a beginning, middle, and end. None of these manuscripts are ready to be submitted to a publisher. And of the five, only my last will become a novel some day. Right now "Dram Rock" is a 42k outline of what will be the second novel in my Coastal Carolina mystery series.

Chris Baty's No Plot? No Problem!, the book of all things NaNoWriMo, has been on my essential reference shelf for half a decade. (Though it's not at the moment; I loaned my copy to an aspiring romance writer who's preparing for this coming November.) While much of Baty's writing advice is NaNoWriMo-specific, there are clear lessons on discipline, priorities, and time management that should be in every writer's tool kit.

One example, useful to anyone who's ever lost an evening of writing to puzzling over how to fix a scene that doesn't seem quite right no matter what you do: Use bold. (Actually, Baty suggests italics, but bold is easier for me to spot.) When you're having problems with a scene, or a bit of dialog or a chapter ending, highlight the troubling section by putting it in bold to remind yourself the problem is there and get on with your writing. That way you do not lose your creative momentum and get more words out of your head and onto the paper where you can work with them.

Don't go back to your bold sections until either your subconscious – which never stops working – has provided you with a solution or you finish the rest of the manuscript. I work in Word, so the easiest thing for me to do is view my ms in "print layout" and shrink the images to 25%. That saves paging through looking for areas that need work because the bold passages show up as dark smudges. I just click on a smudge, go to 150% (I have old eyes – large print is my friend), and get to work fixing whatever needs fixing. Sometimes I can't think why I bothered to highlight the section. Other times the solution is obvious. Usually it's something in between. But no matter what I find, I'm able to make clear editorial decisions quickly because I did not waste time trying to edit when the words were flowing.

If you have trouble using your writing time productively – or if you have trouble finding writing time at all – I highly recommend taking part in NaNoWriMo. It's a fun and challenging way to prove to yourself you can overcome the excuses and get words on paper. Can't go wrong investing in Baty's book, either.
Either will show you you've got more time to write – and can write more in the time you have – than you knew.

 

7 comments:

Leatherdykeuk said...

Isn't NanoWriMo 50K? The target always used to be 1666 words a day. I completed it six times and one of the nano books (though longer and carefully edited) goes on sale tomorrow at Lyrical Press

G said...

Took me a very long time (almost two years into blogging) to figure out what this particular thing was all about.

Still don't get it, especially since writers usually write year 'round and focusing on a particular month for writing somehow says that the writing for the other 11 was a waste of time.

But that's just me.

Sometimes things that don't really make sense are things that people enjoy the most.

Good luck with it, even though IMO there really isn't anything to be gained by it. I mean, if it wasn't, wouldn't you still be writing a novel just the same anyways?

RKBentley said...

Yep, it's 50k.

Some of us in my area are doing 100k or more.

KeVin K. said...

Yep, 50k it is. An indicator that if I'm going to write about something I haven't been involved with for four years, I really should drop by their site and refresh my memory before posting. (Tempted to go correct my error, but I'm going to leave it as an object lesson.)

G: NaNoWriMo is aimed at writers who want to develop their writing speed, ability to prioritize functions (like writing when you're supposed to be writing instead of editing/researching/sharpening pencils) and related time management/self discipline skills. It is primarily aimed at writers still growing into their craft. But just as a concert pianist must practice scales daily to keep her edge, it never hurts a pro to exercise the basics now and again.
I will not be taking part in NaNoWriMo directly -- I've got a couple of projects that can't wait. But I will be clocking my daily word counts on those projects through November along with everyone racing to complete their novels.

Leatherdykeuk: Congratulations on your novel going on sale!

RKB: 100k in 30 days? That is impressive. I cruise at about 250 words per uninterupted hour, so that would take me (uses phone as calculator) 13 hours and 20 minutes a day to complete.

RKBentley said...

Yeh, my word war buddy did 100k 2yrs back and 150k last year. Which is why she is my word war buddy. ;)

Gonna aim for 100k and see what happens...

Phyllis Bourne said...

I successfully completed a Nano book back in 2004. I worked on my Alphasmart exclusively and carried it with me everywhere.

I've tried it since, but haven't finished.

Liane Spicer said...

To each his own - I've never been tempted to participate in this. I don't want to disgorge 50,000 words just for the sake of doing it. I know I can write a novel-length project in a couple of months because I've done it several times already. There must be less wasteful (to me - not saying it's all a waste) ways of learning the object lessons inherent in this exercise.

That book sounds useful, though. My method of highlighting troublesome spots and moving on is to use the highlighter function in Word. I like the turquoise; It's much, much easier to spot than bold font.

 

 

VIDEO: Massive Attack

Grantley "Daddy G" Marshall and Robert "3D" Del Naja

Massive Attack is a collaborative British music production duo from Bristol. Working necessarily alongside facilitating co-producers, as well as various favoured session musicians and guest vocalists, they make records and tour live. The duo are considered to be progenitors of the trip hop genre. —Wikipedia

Unfinished Sympathy

<br /><b>Massive Attack - Unfinished Sympathy</b><br /><i>Uploaded by chilavert. - Explore more music videos.</i>

 

Live With Me

 


MASSIVE ATTACK Live On KCRW

All the stars aligned for our studio session with Massive Attack. The band rarely does radio sessions in the first place, but having BOTH reggae superstar Horace Andy and singer Martina Topley Bird performing with the band (as well as two drummers) made it extra special. The session was taped while the band was in town for a couple sold out shows at the Wiltern and they played an array of music from many of their records.